Papers by fernando poeiras
This is a text for students. "Why do many students do not sketch?". From this central p... more This is a text for students. "Why do many students do not sketch?". From this central problem is made a cartography of creating conditions in the design; from the inner creation of conditions to the sketch to the external conditions with which the sketch should be combined. Neste ensaio faz-se uma análise e uma apologia da vida social da criação no design. Usamos o esquisso como exemplo, pelo seu papel mediador na construção dessa vida social.
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthet... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
Proceedings of DARCH 2022 November - 3rd International Conference on Architecture & Design
In this paper we try to understand ways through which the construction of atmospheres in the fiel... more In this paper we try to understand ways through which the construction of atmospheres in the field of painting is operated. The methodology consisted of a literature review that enabled a choice of case studies that we found appropriate and capable of producing fruitful connections between themselves. We try to establish several distinctions and different approaches to try to clarify different ways in which, in our perspective, diverse types of atmospheres might be constructed. The case studies are chosen for their ability to question each approach, considering their pictorial values rather than questions of historical or other frameworks. We try to reach conclusions concerning the construction of atmospheres in themselves and what they might induce, considering mainly concepts developed by the neurologist Erwin Straus. We were particularly focused on the potential conclusions and possible knowledge concerning the construction of atmospheres in themselves, and what they might induce in cognitive and its consequences in interpretative forms, namely in design in the scope of its operative field.
www.drawingmatter.org, 2021
How does drawing increase the capacity to understand, imagine and validate a design?
To answer i... more How does drawing increase the capacity to understand, imagine and validate a design?
To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design).
We have identified three aspects of drawing practice that exercise our
sentient faculties in three sufficiently distinct ways:
1. ‘The object in the drawing’: The problems and solutions explored by
drawing as circumscribed by the scope of representation.
2. ‘The drawing in the object’: The problems and solutions explored by
drawing as circumscribed by drawing languages, or more accurately,
by drawing styles and drawing crafts.www.drawingmatter.org
3. ‘The drawing-object’: The problems and solutions of a design project
as internalised and explored by a process of experimentation through
drawing
O arqueiro tornou-se mimo, 2019
O arqueiro tornou-se mimo -na instalação Bela e Má de Ana Vidigal Na escultura Archeiro (1972) de... more O arqueiro tornou-se mimo -na instalação Bela e Má de Ana Vidigal Na escultura Archeiro (1972) de Leopoldo de Almeida salientou-se o gesto, dramático, replicador e replicável, salientou-se a falta da seta e do "alvo", que é também a falta de uma direção e de um fim. Com humor, o grandioso arqueiro tornou-se (também ou apenas?) um mimo ostentando ausências tangíveis e significantes. Esta ação sofrida pelo Archeiro foi exemplar para a experiência da instalação.
folha de sala by fernando poeiras
Poeiras, Fernando, 2024
"O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desen... more "O desenho tem duas raízes" é o título deste texto, e uma forma de aludir à presença nestes desenhos de reciprocidades entre a matéria do desenhar e a ideia/concepção; entre a observação das árvores e as referências de desenhos de àrvores; entre o desejo de chegar à "árvore" e a espessura do fazer do desenho, e da história do desenho de árvores.
Folha de sala para a exposição "Once upon a time" de Rui Castanho.
Folha de sala para exposição viagens comissariada por Samuel Rama
If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it te... more If we do not want to reduce A.M.’s ironic fantasizing to pure images, we may ask: what does it teaches one to see? And, what exercise does AM perform through it?
Catálogo da exposição (org. PANACEIA) de Albuquerque Mendes, 2013.
Apresentação de uma exposição de alunos finalistas de gravura e serigrafia
What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, tha... more What is, or what could be, a politicsaesthetics of 'slow violence'? What kind of aesthetics, that is what mode of feeling, perceiving and thinking, are expressed in those possible images of slow violence? What politics, what mode of action, could it produce or convoke?
"Speed provides the one genuily modern pleasure."
que se pode, desenhar Há uma relação, tão antiga quanto estreita, entre arte e poder. Poder com l... more que se pode, desenhar Há uma relação, tão antiga quanto estreita, entre arte e poder. Poder com letra minúscula, e no sentido exacto da exploração e descoberta do que se pode e não se pode; poder fazer, poder desenhar. Uma das formulações dessa im/potência é dada na extraordinária afirmação de Artaud: "Desenhar o que é? Como se chega lá? É o acto de abrir passagem através de uma parede de ferro invisível que parece colocada entre o que SENTIMOS e o que PODEMOS. Como deve atravessar-se tal parede, pois de nada serve bater-lhe forte, tal parede deve ser minada e atravessada com uma lima, lentamente e com paciência na minha opinião". Esta é uma experiência do artista.
Apresentações by fernando poeiras
da sessão: Fernando Poeiras. Tema: o desejo de ver claro… "Uma comédia do pensamento", M/6. Podia... more da sessão: Fernando Poeiras. Tema: o desejo de ver claro… "Uma comédia do pensamento", M/6. Podia ser este o subtítulo, ou mesmo o título, de Madagáscar; se os seus criadores levassem "o" pensamento mais a sério. Felizmente isso não acontece. A tarefa de "intelectualizar" Madagáscar parece-nos divertidamente absurda, mas parece também que o humor não é irrisão suficiente para apresentar um filme neste contexto, ou para o comentar. Porquê esta escolha?
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Papers by fernando poeiras
To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design).
We have identified three aspects of drawing practice that exercise our
sentient faculties in three sufficiently distinct ways:
1. ‘The object in the drawing’: The problems and solutions explored by
drawing as circumscribed by the scope of representation.
2. ‘The drawing in the object’: The problems and solutions explored by
drawing as circumscribed by drawing languages, or more accurately,
by drawing styles and drawing crafts.www.drawingmatter.org
3. ‘The drawing-object’: The problems and solutions of a design project
as internalised and explored by a process of experimentation through
drawing
folha de sala by fernando poeiras
Apresentações by fernando poeiras
To answer it, we will consider only design drawings, excluding other types of drawing such as presentation drawings. We will also consider only architectural drawings, although this study applies to drawing for most areas of design (such as product design).
We have identified three aspects of drawing practice that exercise our
sentient faculties in three sufficiently distinct ways:
1. ‘The object in the drawing’: The problems and solutions explored by
drawing as circumscribed by the scope of representation.
2. ‘The drawing in the object’: The problems and solutions explored by
drawing as circumscribed by drawing languages, or more accurately,
by drawing styles and drawing crafts.www.drawingmatter.org
3. ‘The drawing-object’: The problems and solutions of a design project
as internalised and explored by a process of experimentation through
drawing